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Since August of last year, the so-called alt-right has become an unavoidable tumor on the American conscience. In the wake of the Charlottesville protests, where Heather Heyer was killed by a white supremacist who drove his car into a group of counter-protesters, coverage of, and conversation about, the alt-right has grown tenfold. Profiles of the likes of Richard Spencer and Milo Yiannopoulos appeared on front pages everywhere and, at a point, some began to argue that such journalism was normalizing these extremist ideologies. Into this contested landscape comes the documentary “Alt-Right: Age of Rage,” a film that dives headfirst into the fierce and ugly battle of the alt-right and their polar opposite, Antifa, which has spilled from the internet and onto the streets. Of course, the question that has to be asked is: Does anybody want to spend any more time with Spencer and his belligerently bigoted ilk?

‘Age of Rage,’ of course, is banking on the fact that people are still interested in hearing what the faces of the alt-right have to say. Particularly, what they have to say about their opposition, Antifa — the anti-fascist left-wing activists that act as a counter to the alt-right, who also take up a good chunk of ‘Age of Rage.’ This fierce opposition between the far right and the far left forms the backbone of the film: Spencer and fellow white supremacist Jared Taylor are thematically paired against Antifa activist Daryle Lamont Jenkins and Mark Potok, a former senior fellow at the Southern Poverty Law Center, among several others who populate the film. But instead of deeply investigating the complex and often toxic ideology behind the alt-right, the film is more interested in exploring how exactly these groups feel about each other — an interesting but far less gratifying angle.

Matt Green seems to get asked a lot what he does for work. The answer, which he repeats well over a dozen times in the new documentary “The World Before Your Feet,” is “nothing.” Not because he can’t, isn’t qualified, or is independently wealthy (though it often feels that way), but because he just doesn’t. This answer, of course, leaves people feeling incredulous. Because how else do you define Matt? Sure, he’s walked across America, from New York to Oregon, and is currently walking every block, sidewalk, bridge, and park in New York City, but if he doesn’t work, who is he?

Matt and his lack of employment is only a small part of ‘The World Before Your Feet’. Written, produced, edited, and directed by Jeremy Workman, it’s representative of both him and the film, mostly because both seem adamant to defy the conventional rules they are supposed to conform to. Not only does Matt not work, but he doesn’t really have any reason behind why he has undertaken the six-plus-year task of walking every inch of New York. He doesn’t plan on writing a book or turning his experience into anything monetary (though this film seems to be doing that for him), and he claims to lack any guiding philosophical motivation. He’s just doing it because he wants to. “The World Before Your Feet” is similar in that it eschews a traditional narrative: it picks up with Matt in the middle of his journey and ends far before he does, opting for mosaic experiences over anything linear. The point is never to understand Matt or his adventure, but simply to experience it alongside him. And maybe, if we’re lucky, to see New York (or the world) through the loving eyes that he does.

For a few years now, headlines around the world have made note of the Most Medicated Generation, the millennials who have been prescribed pills for everything from behavioral issues to depression and anxiety. By some estimates, nearly 25 percent of university-aged kids are on some form of prescription drug — a sharp uptick from any previous generation. These facts and figures, of course, make a movie like “Take Your Pills” — a potent but messy documentary — inevitable. It’s inevitability, though, doesn’t make it any less necessary, as “Take Your Pills” takes aim at Adderall and Ritalin and the mind and mood altering realities such drugs have created for millions of Americans — for better or worse.

“Take Your Pills” starts with the obvious: Adderall’s ubiquity on college campuses, both as a necessary prescription drug and an illegal substance that students buy under the table to fuel all-night study sessions and end-of-term finals. For anyone who’s been anywhere near a college in the last decade, nothing about this will be surprising, but the candid nature of the students put on screen is still startling. What’s even more fascinating, though, is the introspection and reflection that director Alison Klayman (“Ai Weiwei: Never Sorry”) manages to make clear. Adderall, it becomes painfully clear, is not always the super drug it’s purported to be for those who have relied upon it for years — in fact, for many, the person they are on Adderall is not exactly the person they want to be.